Born in Panama, artist Giana De Dier is acutely aware of the history of how she came to be in a country thousands of kilometers from where her ancestors came from. This displacement of Africans is a topic she often explores in her collages. Centering the Afro-Caribbean people in her collages, she constructs a powerful image with archival pictures. These archival photographs, once a fetishized look at the black body, become a celebration of the life and culture of the people that came before her.
Wangechi has depicted herself as a feministic artist because most of her work entails violence meted upon black women in society. Mutu tries to show how black women in society have been subjected to serial harassment by members of society. Mutu's work seems quite contradictory because she depicts a problematic society and at the same is hopeful that society will change how it treats women.
Noah’s inspiration is drawn between the fusion of cultures and the creation of palaces of memory, through an 'appropriation of Manifesto of the Anthropophagus', published in 1928 by the Brazilian poet and polemicist Oswald de Andrade, a key figure in the cultural movement of Brazilian Modernist.
It’s a weapon that Parks was very comfortable using. And he used it often. Whether during a protest on police brutality or a documentary capturing the idyllic moments of African Americans’ lives in rural Alabama, Parks always used his photographs as a tool to tell different narratives that would fight against racial segregation and violence he saw — and experienced — around him.
Ringgold explored many mediums throughout her long career, like painting and printmaking. However, Ringgold would mostly be known for her textile works. Following a long legacy of fabric artists in her matriarchal line, Ringgold learned about the legacy of quilts and their importance in African-American history.